It’s 7:15pm and ‘Sweet Caroline’ is blasting over the speakers as Arizona’s The Maine take to the stage, acting as tonight’s second warm up act. The iconic song, while notoriously known on our shores for its football association, leads perfectly into the band’s first performance of the night – a nod to the ‘Sticky’ lyric “‘Cause you’re on repeat like “so good” in ‘Sweet Caroline’. This light touch humour defines the band’s set which is filled with silly yet charming anecdotes from front man John O’Callaghan, seamlessly yet seemingly whimsically tying together each of the seven songs on their setlist. With the added bonus of a special appearance from Charlotte Sands for the addictive ‘Loved You a Little’, which sees mayhem ensue in the front quarter of the venue in particular, The Maine garner far more enthusiasm and excitement than you’d expect from an opening act. Made for stages like this, we hope it won’t be too long before they see themselves rising in the ranks to headliners themselves. 

What follows is an 11 song setlist by Texas natives, Waterparks. Acting as main support and well-known for being something of a ‘marmite’ band, Waterparks definitely split this crowd in two. Those in the front half of the venue scream emphatically to every word, jumping when commanded and generally eating out of the palm of Awsten Knight’s hands in a very, “Yes sir, no sir, three bags full, sir” kind of way. The vibrantly red-headed frontman’s charisma is undeniable, as is the catchy nature of the band’s set, and regardless of where you sit on the marmite scale you can’t help but smile at the scene before you, even catching yourself unashamedly yet unwillingly tapping a toe or two. Between Waterparks and The Maine, it’s safe to say tonight’s crowd are sufficiently toasty and ready for the main event.

Tonight marks You Me At Six’s second headline show at Alexandra Palace – the first being nearly six years ago in 2017 following the release of ‘Night People’ – and the production in itself shows just how far the band has come, feeling much more professional than their previous appearance, including various stage levels and one hell of a lighting set up. 

It’s this light production that intros the band tonight, bringing them on stage to a flurry of flashing colours in a way that boldly says, “We have arrived”. Despite this however, the band miss the mark somewhat in starting with new song ‘Deep Cuts’, which fails to see the immediate engagement you’d expect of a YMAS show. This instead comes with song two on the setlist, 2014’s ‘Fresh Start Fever’ which sees the crowd losing their minds, awestruck as front man Josh Franceschi hits that note. 

While the additional levels (deservedly showcasing drummer Dan Flint in all his glory), impressive light show and unexpected runway all add to the show, the production would have fared well from the addition of song transitions. As it is, however, there are a number of moments throughout the show wherein the lights are down and there’s no sound to be heard bar the occasional “Whoop!” from a crowd member. 

This is the only criticism to be found here, however, and it’s easy to forgive such small details given the professionalism with which the rest of the show and its massive 21 song setlist are executed. Whether it’s the classic call and response during ‘Cold Night’, the labelling of each part of the set (our favourite being the final part: “Pure Filth: Nothing But Bangers”) or the humanising speeches setting up fan fave ‘Take on the World’ and new heart tugger ‘Mixed Emotions’, there’s something for everyone. Not forgetting, of course, the night’s real highlights that come in the form of Franceschi and guitarist Chris Miller’s acoustic rendition of ‘No One Does It Better’ and – perhaps most excitingly – the short but sweet surprise appearance of Enter Shikari’s Rou Reynolds during ‘No Future? Yeah Right’, the response to which all but lifted the roof right off the main hall.

It’s been 18 years of You Me At Six and it’s safe to say they’re stronger than ever. Despite being told time and time again that they’ll never fill the likes of Wembley Arena or Ally Pally, these five boys continue to prove doubters wrong. Having grown from boys to men together, without ever a shift in lineup, the YMAS crew know each other inside and out, a chemistry that sparks fires on stage and ignites a flame in all of us too. Franceschi admits towards the end that we have “no idea how many times the You Me At Six family has saved [his] fucking life”, and it’s fair to assume the same can be said of many in this room too. 

YASMIN BROWN

From Fueled By Ramen’s latest success story, Meet Me At The Altar, to our favourite wholesome men in The Maine, to tonight’s main event, the mighty All Time Low, there’s not a moment to rest nor a moment to feel anything but the overwhelming buzz that comes when you’re about to see your favourite band. And this time, that buzz will hit you square between the eyes three times in a row.

The excitable atmosphere in the room is tangible as the crowd, from front to back, embraces the packed, sweaty environment with open arms. The anticipation is all consuming, and when The Maine hit the stage, it’s all we can do to scream, shout and jump as wildly as our bodies will allow. It’s a novel situation to have the lead support be as popular as John O’Callaghan and his pals are tonight, and there are moments where the crowd responds so well to their 30 minute set that you almost forget that this isn’t the band we’re here to see. Playing hits from across their whole discography, The Maine showcase boundless charisma, talent and easy crowd interaction, and the smiles that are still sitting widely on our faces right through the intermission until All Time Low take to the stage only further cement what an incredible band this really is.

But of course, there can only be one headliner tonight, and as All Time Low take to the stage for the second of two sold out shows here at Brixton Academy, our excitement and euphoria really hits its peak. Those at the front of the crowd are already gasping for air, having been waiting for hours for this very moment, while those at the back carefully nurse their beers as they merrily sing and dance along as the set kicks off with one of the band’s most recent hits, ‘Some Kind of Disaster’.

This is the first time All Time Low have been able to visit our shores since the poorly timed release of ‘Wake Up Sunshine’ early last April, and fans are chomping at the bit in excitement as we hear these tracks live for the first time. With many bands who have been around for as long as All Time Low, it’s easy to tell that older releases resonate better with the fans, but this is a band that has successfully maintained enthusiasm with every album they’ve released. This is clear to see tonight as they make their way through a set list made up of tracks from across their whole career, even mixing it up from the previous evening, throwing in curveballs such as ‘Favorite Place’ which are met with as much joy as the singles and other fan favourites such as ‘Monster’, ‘Weightless’ and – of course – ‘Lost in Stereo’. 

Technically, All Time Low are all but perfect this evening, never failing to hit every note with ease and playing together in perfect synchronisation that can only be achieved by a band that have played as one unit for the better part of two decades. You get the feeling that they could pull off a decent show in their sleep, but the effort and energy they still put into every performance guarantees a phenomenal evening, and the crowd are happily eating out of the palms of their hands from start to finish, their dedication to the band mirroring the band’s dedication to their craft. 

It’s hard to articulate just how special this particular performance has been without being in the room, but as front man Alex Gaskarth notes that this is their “favourite show in a long time”, you might just get a notion of just how magical it has been. And, if we’re totally honest, it’s been one of our favourite shows in a long time, too. 

YASMIN BROWN

Flash forwards 19 months and The Maine have made it their mission to return as soon as they have been able, determined to pick up the celebration where they left off – for real this time. With the recent release of ‘XOXO: Love and Anxiety in Real Time’, it’s near perfect timing, the new songs still fresh in our minds as they’re played here in this live environment for the first time in the UK. 

The band take to the stage as ‘Sweet Caroline’ plays over the speakers, the crowd singing along more enthusiastically than we have since the final of the 2020 Euros back in July. It’s an apt song choice given the first song on the set list, ‘Sticky’, which correctly references the track as being one of those catchy numbers you just can’t get out of your head. The energy is tangible in this sweltering box room (“Is anyone else sweaty at the elbow?” – Yes, John. The knees, too) at the back of a Milton Keynes pub, and it takes no time at all for the crowd to start dancing as though their lives depend on it, desperately trying to make up for the lost time between now and February 2020, easily succeeding in their mission.

Never one to worry about embarrassing fans, the classic performance of American Candy’s ‘Am I Pretty?’ sees front man John O’Callaghan picking out individuals from the crowd to show off their best dance moves (“Drink your drink and show off!”), his insistence on including us in the show, making an already intimate performance feel that much more personal. This continues throughout with it becoming increasingly clear that the fans are as much a part of The Maine’s live show as the band themselves – at one point O’Callaghan goes as far as to take a fan’s phone straight from their hands and films himself and his bandmates from the stage, providing that fan with memories they can revisit for years to come. 

After a brief intermission which saw a delightful Smash Mouth singalong, O’Callaghan promises 53 more songs and threatens to “lock the fucking doors” in case this, for some reason, wasn’t okay with us (spoiler: it totally was). It’s a joke that continues right up until the end of the set where we’re met with the disappointing realisation that actually there aren’t 47 songs left and the night is over far too soon. 

The Maine never fail to disappoint and it’s been far too long since we were last able to experience the boundless joy they bring. From golden oldies such as ‘Everything I Ask For’ to bringing their new ‘XOXO’ material to life and everything in between, this really has been the most perfect comeback for the most wholesome band. This tiny pub isn’t the best for sound and the lack of ventilation leaves it feeling more like a sauna than a live music venue, but it’s the charisma and the atmosphere that makes this the most perfect show, something we’re able to express properly when O’Callaghan asks us to scream and jump in unison – a much needed cathartic expression of emotion. It’s been impossible to mask the grins on our faces from the very second they took to the stage and we’ll continue to smile at the memories right up until they make it back here again. 

YASMIN BROWN

And that’s exactly what ‘XOXO: From Love & Anxiety in Real Time’ is all about: unconditional love. The good kind, the messy kind, the new kind, the everlasting kind, the scary kind. The kind that sticks around even when shit hits the fan, or you find yourself to be at your very worst. 

From start to finish, you experience all aspects of a relationship and gain an understanding that it is all facets – not just the good bits – that make love so special, and that push you to be stronger in any relationship. From the lustful infatuation that defines album opener ‘Sticky’, to the warm embrace that comes in the form of ‘If Your Light Goes Out’, all the way through to the triumphant and hopeful ‘Face Towards the Sun’, you’ll find yourself reflecting on past and present love and realising exactly what you’re worth. Which, as The Maine will tell you, is far more than you think.

As well as maturing lyrically, as the Arizona five-piece so clearly have over the years, their sonic positioning has grown, too. Refusing to allow the industry to overtake them, The Maine have stayed ahead of the curve, never producing the same album twice and always giving fans something new to get very, very excited about. ‘XOXO’ is no different. In fact it may well be their most sonically cohesive album yet, with songs transitioning seamlessly into the next (‘Lips’ and ‘Love In Real Time’ could easily be mistaken for the same song if you’re not paying close attention) and perfectly supporting the strong thematic narrative that has been created. Each song is technically tight and carefully crafted, leaving little to no room for criticism from either existing or new fans. 

As far as highlights go, they’re almost impossible to pin down because while no two songs sound the same, they are each a vital piece of this gorgeous puzzle, and to analyse this album without any one of them would be to break the carefully constructed narrative. That said, the intimacy and vulnerability that’s shared with fans in ‘April 7th’ demands fierce applause, as does the sentiment shared in ‘Dirty, Pretty, Beautiful’ that imperfect love is somehow perfect in and of itself – something we often forget in the heat of the moment. ‘Face Towards the Sun’ feels comfortably reminiscent of 2019’s ‘Flowers on the Grave’, providing what will almost certainly be a last chance to let loose when The Maine return to the stage later this year and, musically, is undoubtedly the strongest track on the record. 

‘XOXO: Love & Anxiety in Real Time’ is undeniably up there with The Maine’s strongest material, telling a story so powerful and detailed yet simultaneously so relatable that you can’t help but love it. The understanding that so many emotions can exist in one single space – how you can be the happiest you’ve ever been while also being the most scared you’ve ever been – forces you to acknowledge that love doesn’t make everything better, but having a rock to lean on will only ever make those tough times easier. As the final, gentle notes of ‘Face Towards the Sun’ play out, you’ll find yourself falling love all over again; with yourself, your family, your partner and your friends. It’s a love that will continue to swell with each listen until you’ve all but burst, only this time there’s no rug to be pulled from under your feet, because this love encapsulates the good, the bad, the ugly and everything in between. It’s the most authentic kind of love there is and, one that will always be there to come back to in the form of this stunning record. 

YASMIN BROWN

Tonight’s main support comes in the form of Sydney’s Stand Atlantic, bringing their relentlessly charismatic pop-punk catalogue to this London stage. Already hugely popular with tonight’s crowd, it doesn’t take much encouragement to get fans off their feet and opening up countless pits across the band’s short set. As front woman Bonnie Fraser verbally works to amp up the crowd, her bandmates use their free arms to coax them into dancing, and with a setlist filled with fan favourites such as ‘Skinny Dipping’, ‘Clay’, and ‘Lavender Bones’, it makes for a perfect warm up act for the main event and it’s easy to see – through the sea of arms – why Fraser considers this one of the best London shows they’ve ever played.

After a short interval, the small, makeshift screen that lights the back of the stage starts playing a video montage with voiceover supplied by The Maine’s front man, John O’Callaghan. The screams that accompany this would be unbearable if only you weren’t so excited yourself, and soon enough The Maine (complete with understudy drummer) take to the stage, each member dressed in a warm yellow that reflects the album’s cover art, instantly making you forget the chill that lies beyond the confines of this intimate room. 

The initial cheers should have been a sign of what’s to come, but as the first words of ‘Slip the Noose’ are uttered, O’Callaghan’s voice is drowned out as the fans take over with momentous enthusiasm, singing louder than you might ever think possible. It’s an energy that’s maintained throughout the 90-minute set and in between songs, when O’Callaghan’s quirky temperament shines through in the form of crowd heckling and short anecdotes, the audience hanging on to his every sweet yet often endearingly nonsensical word.

The entire evening could be described as a highlight – of your day, week, month, year – but within it there are moments that shine even brighter and cause even more joy. ‘Am I Pretty?’, while just one song, easily becomes one of these moments, as it’s stretched out into a 10 minute segment. Individual crowd members are encouraged to dance along in the middle of a pit while the screen at the back of the stage subtly transitions through a number of phrases telling us we are enough, we are beautiful, we are loved. 

As O’Callaghan disappears into the sea of fans during ‘Am I Pretty?’, he announces that just this morning, drummer Pat Kirch – the band’s absent drummer – became father to a baby girl. The screams of excitement that erupt suggest that the fans in attendance have an investment in the band that goes beyond the music, and while it’s impressive that the crowd regularly drowns out the band with their singalongs, this connection clearly runs so much deeper as we all celebrate this new life together. 

O’Callaghan crowd surfs back to stage before the backing screen lights up to show childhood photos of each of the band members, perfectly accompanying ‘Fucked Up Kids’ before transitioning into clear fan favourite, ‘Bad Behaviour’ which sees the whole of Kentish Town off its feet and singing along emphatically to the 2017 hit. 

It’s after this that the night gets really weird, and you’d be forgiven for starting to wonder whether you’ve accidentally entered an unusual take on karaoke as O’Callaghan stands alone on stage, encouraging the crowd to sing songs such as Britney Spears, The Killers, and Smashmouth for bordering on 10 minutes before it’s drawn to a close as the rest of the band rejoin O’Callaghan in an admirable attempt at starting a hardcore band. 

This whole night is bound to have you feeling something – longing, joy, love, lust, regret –  but never more so than during the final three performances of the night. As the band transition from ‘Black Butterflies and Deja Vu’ to 2019’s ‘Numb Without You’ and ‘Flowers on the Grave’, emotions reach their peak, and there could be no better trio to bring the night to such a magnificent close. ‘Flowers on the Grave’ in particular gives the band an opportunity to show off their musical talent shamelessly and in all its glory – the crowd drinking in the full length of the song, fully aware that this is their last opportunity to embrace what has been a charming and effervescent evening.

As the last notes play out and the band leaves the stage, we now know two things for certain: The Maine are the most wholesome band in the world, and we are OK.

YASMIN BROWN

Gunnersville has, until recently, been somewhat under the radar as far as the alternative scene is concerned, but after a day curated by one of Punktastic’s favourite bands, You Me At Six, we won’t make the mistake of overlooking it again. 

The Maine

Ever-wholesome, The Maine are never ones to take themselves too seriously, and as the screens switched to a stark red with the message, “Sorry for the inconvenience. You Me At Six will be on soon,” we know that this performance will be as joyful as any other they’ve put on in the past. From multiple successful attempts at getting the crowd moving, to pulling up the once-fan, now-famous Chris Barnes up on stage for ‘Am I Pretty?’, the entire set was a delightful experience provided by five exceptionally kind and talented men. The Maine will never let us down. All too soon, we’re politely told, again by the bright red screen, that “This is the last song a band called The Maine will play today”, and once again, the crowd is encouraged to lose their minds (“If you’re not gonna do it for us, do it for Chris Barnes”, we’re told). While there’s a bittersweetness that comes with the knowledge that it’s almost over, fan favourite ‘Black Butterflies and Deja Vu’ is appreciated all the more. With the knowledge that it’s our last chance to witness this band in all their live glory until February next year, and it draws the set to a near perfect close. 

Deaf Havana

From the moment Deaf Havana take to the stage following an introductory voice-over, we know this is going to be a good set. Larger stages have, in the past, been unkind to Deaf Havana in regards to sound, but today everything we hear (and feel) is faultless. Frontman James Veck-Gilodi’s vocals are powerful yet sweet, and the energy that radiates off each band member is quickly reflected in the sea of fans before them. The band jumps around the stage like a 2002 pop-punk band, which is fitting considering James’ brother and lead guitarist, Matt, is today dressed in an outfit reminiscent of a school boy, and the ecstasy that is spread across each of their faces is contagious. We’re often met with humble thanks, aimed both at the crowd for being there and at You Me At Six for inviting them to be a part of this line up, stating that “it means everything, you don’t understand”. But as we scream the lyrics back over the course of the set (which is far shorter than any of us would like), it seems as though we’re just as grateful for Deaf Havana as they are for us.

Jimmy Eat World

There’s general confusion at Jimmy Eat World ever being second on any lineup however the Arizonan four-piece take every opportunity, however large or small, and make it entirely their own. At this point, the crowd is all but impenetrable, and for good reason – this band has likely been performing for longer than many members of this young audience have been alive. They know how to put on a show, and they know exactly which songs in their extensive discography is going to have fans hanging off their every word. From the raucous ‘Bleed American’ to the perfect opportunity for a singalong that comes in the form of ‘Sweetness’, to the timeless and ever-heartbreaking ‘Hear You Me’ (during which the band is joined by You Me At Six’s lead guitarist Chris Miller), there is something for everyone in attendance. We’re even treated to the live debut of the band’s currently unreleased track, ‘Criminal Energy’, the announcement of which causes a nervous excitement over what we can expect when it comes to future Jimmy Eat World records (the answer, as it turns out, you can find here). The finale and highlight, though, comes in the form of ‘The Middle’, and before the last notes are struck and the band walks off stage, you simply can’t help but find something (or in our case, everything) to love about this band. 

You Me At Six

Following what can only be described as a stunning performance by Jimmy Eat World, it’s time for the main event. This You Me At Six performance has been highly anticipated by all fans, as we’ve been promised every single from the past twelve years, played in chronological order. This means the rare appearance of tracks such as 2010’s ‘The Consequence’ (with a surprise appearance from The Blackout’s Sean Smith) and ‘Liquid Confidence’ – both of which are met with indescribable screams – as well as old-school gems such as ‘Jealous Minds Think Alike’ and ‘Finders Keepers’.

As the set progresses, you can see frontman Josh Franceschi steadily starting to take the performance more seriously. The first few singles are rushed through with a certain level of disdain, or perhaps it’s boredom, but either way it’s clear that You Me At Six are not the band they were 12 years ago. Whether this fact is a good thing or not is entirely up to the fans. 

Aside from the music itself, there are plenty of moments that take you back in time, most notably the performance of ‘Reckless’ that brings back the 2012 tradition of removing an item of clothing and swinging it around our heads. These are elements of a You Me At Six show that have always been embraced by the fans, but it soon becomes clear during ‘Fresh Start Fever’, that the YMAS demographic aren’t necessarily here for a mosh pit, as Franceschi’s attempt at opening up the crowd is met with lacklustre. That doesn’t, however, mean that the audience lacks enthusiasm, as each song is met with sheer excitement and we scream until our voices crackle away to nothing, refusing to let the two hour long set break us.

As we reach the ‘Night People’ part of the set, the energy is maintained with more pyrotechnics and an early release of confetti during the album’s title track. At this point, Franceschi takes the opportunity to attempt to scream – a habit he seems to have gotten into this festival season, giving us more reason to believe that what’s to come with the new music the band keeps alluding to will implement this new vocal feature. We can’t wonder for long, however, as our thoughts are pulled back to the present when the usual ‘Take On the World’ speech that has a general ‘fuck the world’ message, is replaced by a more positive monologue that, when rounded up, amounts to life being really fucking good. Friends and loved ones festival-wide put their arms around one another and breathe this all in as the song progresses, and it’s at this point you realise how important You Me At Six can be in creating a safe space filled with love and positivity in world that sometimes doesn’t feel all that positive at all.

The monumental two-hour set closes with the singles from ‘VI’ and latest single ‘What’s It Like’, which come accompanied by expressions of gratitude to the bands that have played before You Me At Six on this very same stage. Jimmy Eat World, Franceschi states, made You Me At Six what they are today, and the boys in Deaf Havana are their ‘brothers’. This is a festival built on respect and admiration, something that every band on the lineup has acknowledged, and as ‘What’s It Like’ plays out, you can’t help but allow that warm feeling in your chest to entirely fill you up while simultaneously throwing yourself around as the track drops one last time.

YASMIN BROWN